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La chance et le risque : le rôle du nombre 7 et des rubis dans la psychologie moderne

1. Introduction : La dualité entre chance et risque dans la société moderne

Dans notre société contemporaine, la notion de chance et de risque occupe une place centrale dans la vie quotidienne, qu’il s’agisse de décisions personnelles, professionnelles ou financières. La psychologie moderne s’intéresse à la manière dont ces concepts influencent nos comportements et nos perceptions. La chance, souvent associée à la chance ou à la superstition, oppose le risque, qui implique une évaluation consciente de l’incertitude. En France, cette dualité est profondément ancrée dans la culture, notamment à travers des fêtes, des superstitions et des jeux de hasard.

L’objectif de cet article est d’explorer le rôle symbolique et psychologique du nombre 7 et des rubis, deux éléments emblématiques, dans la compréhension moderne de la chance et du risque. Nous verrons comment ces symboles, à la fois ancestraux et modernes, façonnent la perception du hasard dans la société française.

2. La psychologie de la chance : perceptions et croyances

En France, la perception de la chance est profondément liée à des croyances populaires et à une vision souvent romantique du hasard. Les superstitions, telles que croiser les doigts ou porter des porte-bonheur, témoignent d’un besoin psychologique de maîtriser l’incertitude. La société valorise également la chance comme un facteur déterminant dans la réussite, ce qui influence la manière dont les individus abordent leurs choix.

Le nombre 7, par exemple, possède une symbolique forte dans l’histoire et la culture françaises. Il évoque la perfection, la spiritualité et la chance dans diverses traditions. La fascination pour cette figure est palpable dans la littérature, le folklore et même dans le langage courant, où l’expression « tirer le bon numéro » ou « les sept merveilles » illustre cette croyance partagée.

Quant aux rubis, ils incarnent à la fois la passion, la puissance et la chance. Leur couleur rouge évoque la vitalité, mais aussi le danger ou le risque, renforçant leur place dans la symbolique de la chance à la française et européenne.

3. Le nombre 7 : un symbole universel et culturel en France

Origines historiques et religieuses

Le nombre 7 trouve ses racines dans plusieurs traditions religieuses et historiques. En France, il symbolise la perfection divine, notamment à travers les sept jours de la création selon la Bible, qui ont profondément influencé la culture occidentale. La foi chrétienne valorise également sept sacrements, considérés comme des étapes essentielles de la vie spirituelle et sociale.

Le nombre 7 dans la littérature et la mythologie françaises

De la littérature de la Renaissance aux contes populaires, le 7 apparaît comme un chiffre porteur de mystère et de chance. Par exemple, dans les récits de chevalerie ou dans la poésie, il évoque souvent l’union entre la spiritualité et la destinée. La mythologie locale associe également le chiffre à des forces protectrices ou à des éléments de chance.

Effets psychologiques de la superstition autour du nombre 7

La croyance en la puissance du 7 influence la prise de décision. Une étude menée en France a montré que les individus tendent à privilégier le chiffre 7 dans leurs choix, comme lors de jeux ou de paris, croyant qu’il porte chance. Ce phénomène s’appuie sur une forme de biais cognitif, où la superstition façonne la perception du contrôle sur l’incertitude.

4. Les rubis : pierres précieuses, symboles de chance et de pouvoir

La signification culturelle des rubis en France et en Europe

En Europe, et particulièrement en France, le rubis est considéré comme une pierre précieuse de grande valeur, symbole de richesse, de passion et de pouvoir. Historiquement, il était associé aux rois et aux aristocrates, qui le portaient pour attirer la chance et renforcer leur autorité. La tradition veut que le rubis favorise la protection contre le mal et apporte la chance dans les entreprises importantes.

La psychologie des couleurs : rouge, passion, risque, et chance

La couleur rouge du rubis évoque une gamme d’émotions : passion, énergie, danger et chance. Selon la psychologie des couleurs, le rouge stimule l’action et la confiance en soi, mais peut aussi symboliser le risque ou la précipitation. Utiliser le rubis dans un contexte de jeu ou de décision peut renforcer la perception de puissance et de chance.

Exemple concret : la collection Gem Trio et son lien avec la psychologie moderne

Une illustration moderne de cette symbolique est la collection gem trio, qui met en avant trois rubis aux couleurs vives. Ces pierres, tout en étant esthétiques, évoquent des valeurs de chance et de succès, s’inscrivant dans la tendance contemporaine à associer la psychologie, la symbolique et la jeu. Ce lien entre tradition et innovation montre comment ces symboles continuent d’influencer notre rapport au hasard.

5. La relation entre hasard, jeu et psychologie : le cas des jeux de hasard en France

Élément Description
Machine à sous (RTP, symboles BAR) Les machines modernes intègrent des symboles comme le 7 ou les BAR, dont l’origine remonte aux premiers jeux mécaniques, où ces symboles représentaient la chance et la prospérité.
Perception du contrôle (autoplay) L’option autoplay crée une illusion de contrôle, renforçant la croyance que la chance peut être influencée par la volonté, malgré l’aspect aléatoire du jeu.
Design symbolique L’intégration de symboles comme le 7 ou les rubis dans le design des jeux modernes renforce leur aspect attractif et leur lien avec la chance.

6. La chance et le risque dans la vie quotidienne : une perspective psychologique française

Les superstitions sont omniprésentes en France, influençant des comportements à risque tels que choisir un jour porte-bonheur pour un mariage ou éviter certains chiffres comme le 13. La croyance en la chance sert souvent de stratégie pour gérer l’incertitude, notamment dans des décisions économiques ou personnelles, comme l’achat d’une maison ou le lancement d’un projet.

Par exemple, lors des élections ou dans le sport, les Français portent souvent des symboles de chance, comme des petits rubis ou des porte-boucliers, pour renforcer leur confiance face à l’incertitude. Ces comportements traduisent une recherche de contrôle psychologique face à l’aléa.

7. La psychologie moderne et la valorisation des symboles de chance

Les médias et les jeux modernes, comme gem trio, participent à la diffusion de symboles tels que le 7 ou les rubis, renforçant leur signification dans la perception collective. Ces éléments deviennent des outils psychologiques, influençant la confiance et la perception de réussite.

Il est également important de noter que cette tendance contribue à la croyance que la chance favorise la réussite, ce qui soulève des questions éducatives sur la manière d’enseigner la gestion du risque et l’esprit critique face aux superstitions.

“La confiance dans les symboles de chance, tels que le 7 ou le rubis, repose autant sur une psychologie collective que sur des traditions millénaires.”

8. Approches éducatives et culturelles pour comprendre le hasard et le risque en France

L’éducation doit intégrer une compréhension rationnelle du hasard et du risque, en particulier face à la prolifération des jeux de hasard et des superstitions. En France, plusieurs initiatives visent à sensibiliser les jeunes à la gestion de l’incertitude, notamment à travers des programmes éducatifs en sciences sociales et financières.

Il est crucial de questionner la place des superstitions dans la formation, afin d’éviter qu’elles ne deviennent des stratégies d’évitement ou de dépendance. La promotion d’une pensée critique constitue un enjeu majeur pour préparer les générations futures à faire face aux risques de manière éclairée.

Des initiatives culturelles, telles que des expositions ou des campagnes éducatives, encouragent une approche plus rationnelle du hasard, tout en respectant l’héritage symbolique de figures comme le 7 ou les rubis.

9. Conclusion : La symbolique du 7 et des rubis, entre tradition et modernité

En résumé, le nombre 7 et les rubis incarnent une tradition profondément ancrée dans la culture française, mêlant symbolisme, psychologie et modernité. Ces éléments influencent la perception du risque et de la chance, que ce soit dans le domaine du jeu, de la vie quotidienne ou dans la sphère éducative.

Ils reflètent également la tension entre une vision ancestrale du destin et une approche plus rationnelle, propre à la société moderne. La compréhension de ces symboles permet d’éclairer la manière dont la société française continue à percevoir la chance, tout en évoluant vers une gestion plus consciente du risque.

Enfin, ces symboles continueront sans doute à évoluer, intégrant les nouveaux médias et les innovations culturelles, tout en conservant leur rôle dans la construction de l’identité collective. La fascination pour le 7 et les rubis témoigne ainsi de l’équilibre subtil entre tradition et modernité dans notre rapport au hasard.

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Maîtrise avancée de la mise en œuvre précise du storytelling visuel : techniques, processus et optimisation pour les réseaux sociaux francophones

Le storytelling visuel constitue aujourd’hui un levier stratégique indispensable pour capter, engager et fidéliser une audience sur les réseaux sociaux. Cependant, la simple création d’images ou vidéos ne suffit pas : il s’agit d’implémenter une méthodologie rigoureuse, intégrant des techniques avancées, pour garantir une cohérence, une efficacité et un impact maximal. Dans cette optique, nous approfondissons ici chaque étape essentielle, en fournissant des instructions concrètes, des outils précis, et des astuces d’expert pour maîtriser la mise en œuvre du storytelling visuel au niveau supérieur.

Table des matières

1. Comprendre en profondeur la méthodologie du storytelling visuel pour les réseaux sociaux francophones

a) Analyse des principes fondamentaux du storytelling visuel

Pour maîtriser le storytelling visuel, il est crucial d’identifier ses éléments clés : le message central, les éléments graphiques, la séquence narrative, et leur interaction symbiotique. La première étape consiste à définir un message clair, puis à construire une hiérarchie visuelle cohérente en utilisant la théorie du contraste, la règle des tiers, et la hiérarchie chromatique. L’impact réside dans la capacité à susciter des émotions ou à transmettre une information complexe en une seule image ou courte vidéo.

Une technique avancée consiste à utiliser la “méthode du fil narratif” : chaque visuel doit représenter une étape concrète de l’histoire, tout en étant relié à l’ensemble par une ligne directrice stylistique et chromatique. Par exemple, dans une campagne pour une association francophone, chaque image doit évoquer une étape du parcours utilisateur ou de la mission, renforçant ainsi la cohérence narrative et émotionnelle.

b) Cartographie des processus : structurer une narration cohérente en tenant compte du contexte culturel francophone

La structuration d’un storytelling efficace repose sur une démarche itérative : commencer par le mapping des “points d’engagement” culturels spécifiques aux audiences francophones, comme l’humour, la sensibilité aux enjeux locaux, ou la valorisation de la communauté. Ensuite, il faut définir un parcours narratif : de l’introduction à la résolution, intégrant des éléments culturels authentiques (ex. références locales, symboles francophones). La méthode consiste à créer une “carte mentale” intégrant ces éléments, pour éviter tout anachronisme ou maladresse culturelle.

c) Identification des indicateurs de succès

Les indicateurs doivent couvrir à la fois des métriques quantitatives (taux d’engagement, portée, clics, taux de conversion) et qualitatives (perception de la cohérence narrative, sentiment exprimé dans les commentaires). Une approche avancée consiste à utiliser des outils d’analyse sémantique pour évaluer la tonalité des commentaires, couplée à des heatmaps pour voir quelles parties du visuel captent l’attention. Par exemple, une campagne francophone sur la sensibilisation à la biodiversité peut mesurer la progression du sentiment positif autour des éléments visuels liés à la nature locale.

d) Cas pratique : étude d’une campagne réussie

Prenons l’exemple d’une campagne menée par une ONG francophone pour la préservation des forêts. En intégrant une narration visuelle séquencée, utilisant des couleurs chaudes pour évoquer la chaleur humaine, et des symboles locaux (ex. chênes, cerfs), la campagne a structuré sa narration en 5 étapes clés : sensibilisation, appel à l’action, témoignages, résultats, et appel final à la mobilisation. La maîtrise de cette méthodologie a permis d’atteindre un taux d’engagement supérieur de 35 % par rapport à la moyenne sectorielle, tout en renforçant la perception positive de la marque.

2. Planification avancée de la stratégie visuelle : de l’idée à la conception technique

a) Définition précise des objectifs de communication et de l’audience cible

Pour une planification stratégique, commencez par établir des objectifs SMART : spécifiques, mesurables, atteignables, pertinents, temporels. Segmentez votre audience en sous-groupes : par âge, localisation, intérêts, et créez des personas détaillés. Par exemple, pour une marque de cosmétiques naturels en France, différenciez les jeunes adultes soucieux de l’environnement et les consommateurs plus âgés, en adaptant le style visuel, le ton et le message pour chaque segment.

b) Construction d’un storyboard détaillé

L’élaboration d’un storyboard doit suivre une méthode précise : d’abord, définir le scénario global en précisant le message principal, le ton, et les éléments graphiques (palette de couleurs, typographies, iconographies). Ensuite, découper chaque scène ou séquence avec une description textuelle, accompagnée de croquis ou d’ébauches. Utilisez des outils comme Adobe XD ou Figma pour réaliser des storyboards interactifs, permettant de tester la fluidité du récit et d’anticiper les transitions.

c) Choix des formats et supports techniques

Sélectionnez les formats en fonction des plateformes : par exemple, stories verticales pour Instagram et Snapchat, vidéos courtes pour TikTok, infographies interactives pour LinkedIn. Appliquez une grille de critères techniques : résolution optimale (ex. 1080×1920 pour stories), compression sans perte de qualité (H.264, WebP), et calibration des couleurs selon le profil de l’écran (sRGB, Adobe RGB). Utilisez des scripts automatisés pour tester la compatibilité et la qualité sur différents appareils grâce à des outils comme BrowserStack ou Sauce Labs.

d) Mise en place d’un calendrier éditorial

Élaborez un calendrier précis en intégrant la planification des ressources : équipes créatives, outils, délais. Utilisez des outils comme Asana, Trello ou Notion pour suivre chaque étape : conception, validation, programmation, publication. Prévoir des points de contrôle pour ajuster en fonction des retours, et intégrer des phases de tests A/B pour optimiser le timing et le contenu selon le comportement des audiences francophones.

3. Mise en œuvre technique du storytelling visuel : étapes détaillées et outils spécialisés

a) Création et édition d’images et vidéos

Pour un rendu professionnel, utilisez Adobe Photoshop pour la retouche avancée d’images : adjustment layers, masques de fusion, et gestion précise des profils colorimétriques (ICC profiles). Pour les vidéos, privilégiez Premiere Pro avec des workflows optimisés : importation en utilisant des proxies pour accélérer le traitement, application de LUTs (Look-Up Tables) pour la cohérence chromatique, et utilisation de la fonction “Render and Replace” pour gérer la compression en sortie. Créez des templates prédéfinis pour accélérer la production tout en maintenant une cohérence visuelle.

b) Intégration de données visuelles dynamiques

Pour produire des infographies interactives ou animées, exploitez After Effects couplé avec des scripts JavaScript ou Expressions pour automatiser l’intégration de données dynamiques. Par exemple, en utilisant un fichier JSON ou CSV, vous pouvez faire varier les valeurs d’un graphique en fonction des résultats d’une campagne en temps réel. L’utilisation de plugins comme Data-Driven Graphics ou Bodymovin (pour exporter en JSON compatible avec Lottie) permet de créer des contenus interactifs et légers, optimisés pour une diffusion fluide sur mobile et desktop.

c) Automatisation et gestion des contenus

Utilisez des outils comme Zapier ou Integromat pour automatiser la programmation et la diffusion : par exemple, relier votre plateforme de gestion de contenu (CMS) à Buffer ou Hootsuite pour planifier automatiquement chaque publication selon le calendrier établi. Configurez des workflows pour automatiser la validation des contenus, la mise à jour des métadonnées, ou la synchronisation avec des bases de données CRM afin de personnaliser les messages en fonction des segments d’audience.

d) Techniques d’optimisation du rendu

Maîtriser la compression sans perte de qualité est essentiel : utilisez des outils comme TinyPNG ou ImageOptim pour optimiser les images, en respectant notamment la méthode “Optimisation itérative” — réduire la taille en testant différentes configurations jusqu’à atteindre un compromis optimal. En vidéo, privilégiez le format WebM ou HEVC pour une meilleure compression. Effectuez une calibration régulière de l’écran de référence à l’aide de sondes colorimétriques professionnelles (X-Rite ou Datacolor) pour garantir la fidélité chromatique lors de la post-production.

4. Techniques avancées pour renforcer l’impact visuel et l’engagement

a) Application des principes de design universel

Adoptez une hiérarchie visuelle claire : la taille, la position et la couleur doivent guider l’œil vers l’information prioritaire. Utilisez le contraste pour accentuer les éléments clés – par exemple, une typographie blanche sur un fond sombre ou des couleurs complémentaires. Respectez la cohérence chromatique en vous basant sur une palette restreinte (maximum 5 couleurs), en utilisant des outils comme Adobe Color pour élaborer des schémas harmonieux. La cohérence doit aussi s’étendre à la typographie : privilégiez 2 à 3 polices maximum, avec des variantes pour le corps, les titres, et les accents.

b) Utilisation stratégique des éléments émotionnels

Exploitez la psychologie des couleurs : par exemple, le bleu évoque la confiance, le vert la nature et la sérénité, le rouge la passion ou l’urgence. Intégrez des symboles ou métaphores visuelles propres à la culture francophone, comme la fleur de lys ou des éléments patrimoniaux locaux, afin de renforcer la connexion émotionnelle. La technique consiste à associer chaque visuel à une narration émotionnelle ciblée, en utilisant des éléments visuels qui évoquent des réactions instinctives et culturelles, pour maximiser l’engagement et la mémorisation.

c) Création de contenus interactifs ou immersifs

Intégrez la réalité augmentée via des filtres Instagram ou Facebook, en utilisant Spark AR Studio, pour créer des expériences immersives liées à votre message. Concevez des stories à éléments interactifs : quiz, sondages, défilements, ou éléments cliquables, en utilisant les fonctionnalités natives des plateformes ou des outils comme Canva Pro avec ses options d’interactivité. Par exemple, une campagne touristique en Provence pourrait proposer un filtre AR permettant d’interagir avec des éléments patrimoniaux locaux, renforçant ainsi la mémorisation et la participation.

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History Dragon Age: Inquisition is not over yet

Who recalls about Dragon Age: Inquisition After the exit The Witcher 3? At least the developers themselves. So, Mike Laidlow (Mike laidlaw), which occupies in BioWare The post of creative director, told Twitter that the history of the Inquisitor has not yet been completed.

Means, Jaws of Hakkon will not be the last plot addition for Inquisition. But what will we see in the new plot DLC, Laidlow did not open. Indeed, why spoil the surprises? True, one thing is known for sure: Hero Ferleden from Dragon Age: Origins They certainly will not show us. Mike is not sure that the protagonist of the first part is suitable for the role of NPC.

It is hoped that in the upcoming addition there will be no more grind, because of which the messenger of Andrasta suffered. Maybe we will even be told the continuation of the main story, and we will learn about the fate of Flem, Solis, and Tedas as a whole?

June 1, 2015 The next large update for The Witcher 3 is already on the way

June 1, 2015 Nvidia will release a new, powerful and advanced GeForce GTX 980 Ti this week

Dragon Age: Inquisition

Dragon Age: Inquisition – Jaws of Hakkon

The best comments

The only advantage of the https://piratespinscasino.org/login/ plot yes: and – against its background, the plot of Da2 becomes a masterpiece of subtleties and depths of thought.

And by the way, I will compare these two games by the will. I began to approximately evaluate them when they did not go out, and now when the Witcher is played with might and main, I think that the time of biovari as the creators of the best RPG has already passed and they are inferior not only by the creators of the AAA-class games as CD Projekt Red, but also RPGs that were created at the Kikstarter funds such as Pillars of Eternity and Divinity: OS: OS. I liked the last two much more than DA: I.

Buying DAI personally for me this is Epic Fale, although when I went through the game I didn’t think so. Now when I cooled down, and the witcher tasted, I realized that DAI was just terrible.

Agree. During and immediately after passing, he praised the game for many, although he mentioned that not without flaws. Now it’s even embarrassing, it will be necessary to follow friends, apologize or something ..

Similarly, I remember each of them very well, I remember very well that this choice even affects part of the dialogs.
The Inquisition does not know how, rugs for homeless people, 10 boards, here is a job for an inquisitor.

Well, they will definitely not show us the fate of SOLAS in the DLS – this is quite a new part of the manner.
I am sure that the next left story, as in the previous DLS.

I was very disappointed DAI. IMHO, DAI is much worse than DAO. RPG is a role-playing game where you will play some role. Your actions affect the fate of other characters. And not because in DAI, where the whole role is = quality and beautiful episodes in the way. In the DAO for the first hours of playing more than the actions of role -playing CHEV DAI in a few hours.
And now with the release of the witcher 3, the bar is so raised that they do not need to do DLS to DAI, but the game from scratch.

A huge number of piano in the bushes that should not exist at all within the framework of the world -set device. Yes, at least the fact that the ending on which everyone jerks off so does not make sense. Elizabeth herself told the hero that they say a comedian cannot be killed and he will live in millions of other worlds. Endless reality means, oddly enough, endless reality. Babism and transformation into a comest are not the only scenario, their pancake is an infinite amount. As well as options for transformation into a comest without Babtism or preserving your name after the adoption of faith. It makes no sense to drown the hero at the end, there will always be another universe where things happened differently. But, on this the problems are just beginning. In the game 2 versions of Lucetes – male and female. And they judging by the dates in newspapers much older than the main character. Comest shown in the game is the adopted Baptism Devit from the female line of this character, and the main character did not accept him from the male. That is, the only option stopping the development of events, the murder of their parents before the birth of Lates, which again confirms that he did not make any sense to heal GG at the end. There are even tables on the Internet with temporary lines along which it becomes clear that the plot in the game has no meaning. If you do not take it, then it is just weak, the characters are poorly spelled out and not interesting, but the game as a shooter does not withstand any criticism.

Eh, if it were the first game … a wretched, flat plot in the style of militants of the 90s. And who are not with Van Lady, where he is first beaten, but he is exalted, and there are such, with a sigal, where GG overcomes from the very beginning, and even a villain is dull.
Of the characters, only three or four more or less dragged, although they loved the “old” biovar always for a crowd of beautiful psychos.
And all this is trampled in a cool, gloomy universe, which was turned into plastic children’s inlame.

It is even interesting what exactly can be remembered in the “interesting” chain of tasks of the Inquisition?
The way he fled along a narrow corridor, killing several mob packs during the epic (epic only in the video) siege of the fortress of gray guards?
Or the way he fled along a narrow corridor, killing several packs of mobs along the course, falling into the future in which the coriff won?
Or the way he fled along a narrow corridor, killing several packs of mobs along the way, falling into the shadow, just like in the first game (lying, in the first game the shadow was made interesting, a whole labyrinth with a unique gameplay)?
Or maybe the next epic corridor with several packs of mobs was remembered, into which biovars turned the battle of the entire army of the Inquisition and Orley against the troops of the Coriates?
But, no, there was a whole plot task where it was not necessary to run along the corridor – the castle of the Empress. Well, yes, it is made to bend-Nafarmy 50 coins and 20 rumors (bu-boo-boo, they could not even voice). Or not farm – and you will slip it in 10 minutes, it is so hack.

I am also very glad that I managed to go through the entire Inquisition to the Witcher. Honestly, now recalling DAI I think: “Damn! How could I play it!?»This is a typical Hollywood and rushing there for all the cracks, in comparison with the Witcher in DAI, just rubber, artificial, soulless plastics, and the same characters. And the dominance of homosexuals simply kills, it seems that the breeds wanted to say this: “This is Europe (not specifically part of the world, but in spiritual terms) is now so accepted, get used to”.
In DAI, I played 165 hours, but after 60 hours I literally forced myself to play it, because already play so much, you can’t quit everything halfway. In the witcher, I have already 78 hours to the end is still very far away, and I did not even notice it that I played so much. Each time I entered it, I find myself there as if for the first time, I don’t even use a quick movement there, he literally captured this world.
For all the time I spent in DAI, I did not experience any emotions, just the next RPG and nothing more. And playing a witcher, helping a bloody baron to look for his family, I just almost burst into tears when he poured his soul about the child about the child. The films do not touch me like that, but here the game. I played in the headphones, everything was justified that something fell into the eye. I have Russian voice acting, I really like how the baron was voiced, I wonder who this actor. So let American teenagers play DAI, and I will play the Witcher.

And I like DA: I.I won’t argue, the witcher 3 is in almost everything better and I’m very happy for the CD Project Red, but plus Dragon Age is that she gives other emotions than a witcher and I do not want BioWare to forget.There were great changes in the studio, but I feel the spirit of past in their new game, although much has become weaker.It is necessary to regard the Inquisition as the first game of the new studio, which came out worthy despite obvious flaws.Therefore, I join Kostya and ask to support BioWare in order to give her a chance to revive from the ashes.

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Choosing the Right Casino with Favorable Odds

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Hildur Goodnadoutir – a long way to Battlefield 2042

"Battlefield 2042" – how much in this name of missed opportunities. Those who follow the game industry know how much the last buttlefield failed: a horse price tag, a release bugs, an ill -designed levela design and game design, as well as a bunch of other small and not very problems. And for this the players deservedly criticized the released product.

But there is one element in the game that is without exaggeration, the magnificent and even say, the reference – this is the soundtrack Hildur Goodnadotir and Sam Slaiter. When I listened to the album for the first time, I was in great shock: “How? Why did this chic sound pass by the public, so they also criticized?". The answer turned out to be very simple – the game itself literally chained everything negative. And this is very sad, because the work of Hildur has left unnoticed.

You just think about it, the orchestra, classic tools sounded in the last games, and here the young woman comes and completely deconstructs the entire Battlefield soundtrack, bringing a completely new other sound, abandoning the choir and orchestra, and instead of ordinary tools, he uses tools made from foil firewoods and sand no longer sounds patho gloomy, rude and sad.

Album Battlefield 2042 I have been listening for many months and still have been in full delight. And I decided, why not tell about this soundtrack much more about this, tell how Hildur approaches the sound, how she conveys emotions not only through classical instruments, but also with the help of various objects and things.

We will start the analysis of the soundtrack not with Battlefield 2042, but with its earlier full -fledged work in the Media masses – Chernobyl and Joker.

Let me mean a few points before we start diving.

This article is the largest and most difficult work at the moment. After all, I step on a very slippery path – music and sound design. Important – I’m not an expert, I don’t write music, I don’t know how to sing, but I listen to it a lot. Music for me is both a great source of inspiration and reassurance in life. And this article was created in order to study how Hildur Goodnadoutir creates music, and what techniques the composer resorted to when working in various projects.

Before moving on to the game itself and her soundtrack, we will analyze the early years of Hildur Goodnadoutir, consider two iconic projects in her career – “Chernobyl” and “Joker”, and then move on to her work in Dice on Battlefield.

This article will provide examples of music from different albums. I extremely recommend listening to everything that I gave as an example, since some theses are disclosed only after listening to the compositions. I also strongly recommend after reading the album of the Battlefield 2042 album is completely to penetrate the atmosphere that the Hildur set.

1. Early years

HILDUR Ingvelardodotir Hudnadottir was born in the capital of Iceland, Reykjavik September 4, 1982. Her family has been engaged in music all her life: Dad Hudney Farnisson is a composer and clarinetist, Mom Ingveldur is an opera singer, and his brother Touraridn Gunason plays the guitar and piano in the Rock Group Agent Fresco, known mainly in Iceland.

From childhood, Hildur was fond of music, and at the age of five began to play cello (later, the cello will become the main musical instrument). At ten, she gave her first concert with her mother in the local restaurant Reykjavik.

The girl received her first specialized education in her hometown at the Reykjavik music academy. Then she moved to musical research, the creation of compositions and the new media at the Icelandic Academy of Arts, then moved to Germany and entered Berlin University of Arts.

In Berlin, Hildur began to cooperate with various Icelandic music groups – Mum, Throbing Gristle, Pan Sonic, Hauschka, Wildbirds & Peacedrums, The Knife and others.

Hildur’s first solo album was released in 2006, called "Mount". It is also noteworthy that this year the girl had collaborations with such composers as Ben Frost, Niko Muli, as well as with compatriot Johan Johannson. The latter, by the way, wrote music for films such as “Arrival”, “Captive”, “Killer” and “Universe of Stephen Hawking”.

In fact, Johan Johannson is one of the best friends-college Hildur, and he greatly influenced her creative career. So, for example, Johan was one of the participants in the second solo album Hildur – “Without Sinking”. In addition to Johanns, Father Hildur also worked on the album. Johannson also invited Hildur as a cellist in Denis Vilnev’s films, in which Johan was the main composer. It is important to note that as a cellist, Hildur Goodnadottir took part in the film "Survivor" from Alejandro injarrit.

We met each other in Iceland about 20 years ago, and we worked together on each project, which we both did for about 16 years or so. We were very close employees and almost a family. We had a strong and deep working relationship.

Goodnadotir about Johannson

Among other things, the guys constantly helped each other in creativity. So, for example, Hildur as a cellist participated in the recording of the album of Johan Orphée (Orpheus).

Jhannsson: Good Night, Day, composition from Orphée album

One of the fracture years of Hildur, you can call it, 2011. It was this year that her debut of the film composer in Horror, bleeding, took place (in English. The Bleeding House). Presumably this year marries Sam Slater, who is a composer, a musical producer and sound engineer. It is with him that she will work closely on important projects that the whole world will discuss.

In 2012 and in 2014, its last two, at the moment, the solo album Leyfðu Ljósinu (2012) and Saman (2014)

HEYR HIMNASMIHUR composition from Saman www.jettbet-casino.uk/ solo album

In 2018, together with Johan Johannson, she wrote music for Mary Magdalene, Gart Davis. Cooperation was noted by the Asia-Pacific film award. And unfortunately, this joint work is the last. In 2018, Johan Johannson died of an overdose of cocaine against the background of treatment with prescribed drugs.

In connection with this news, Hildur takes the place of the composer instead of Johan in the film "Killer 2: Against All". Initially, she took the place of the first cello. She also contributed to the posthumous reissue of his debut album Englabörn & Varis.

2. Chernobyl

On May 6, 2019, one of the most successful Chernobyl mini-series is released at the HBO Max Streaming Service. It is from this project that the name Hildur Goodnadoutir is mentioned in the mass media.

The approach to writing this album in the girl is unusual. The first thing that was important for Hildur when creating a soundtrack was no cliche. Therefore, she decided to approach the process creatively. The girl wanted to experience what it is located inside the nuclear power plant, I wanted to understand how the catastrophe sounds, how the tragedy was really felt.

This is such a difficult story for the story. How it sounds? For example, what a catastrophe is similar to and how it sounds … We associate certain sounds of a nuclear disaster with radiators, but there are so many other sounds that were so interesting to observe.

Hildur in one of the podcasts

With such questions, the girl went to the set of the Ignalin nuclear power plant, which is located in the northeast of Lithuania, but not one, but with sound engineer Chris Watson, who, as Hildur says, “can even record an ant”.

The girl and Chris were given protective costumes, and for many hours they listened and recorded the sounds of the power plant. And answering the question, “it turns out the soundtrack to Chernobyl is recorded without any musical instruments?" Yes, absolutely true, almost the entire album is recorded without the use of musical instruments.

I wanted to experience what it feels like to be inside the power plant. An attempt to make music from history – for the most part, this is the ability to listen.

Hildur in one of the podcasts

In addition to the cod of the dosimeter, there is another sound in the soundtrack – for example, they listened for hours and recorded the sounds of the door in the pumping station. And after these recorded sounds, they created the melody The Door.

The composition of The Door

And so with each composition. For example, the soundtrack PUmp Room (aka pumping room), is recorded directly in the pump room.

Pump Room composition

This approach is extremely unusual and reminded me of another composer who wanted to convey fear through various household instruments and things – this is Akira Yamaoka in a series of games Sileynt Hill. And the creation of such a soundtrack was the first experience for Hildur, and not the last.

For work in the mini-series Chernobyl, the girl receives a bunch of awards and recognition-Emmy, a Prize of Online Association of Cinema and Television, World Soundtrack Awards, Grammy and so on. The list is really large, but the main breakthrough in a career occurred in another project, which also published in 2019.

3. Joker

Joker is a cultural phenomenon. The film collects a huge bunch of awards, receives worldwide recognition and multi -inhabitant ovations. Director of the film Todd Phillips and chief actor Joaquin Phoenix now in every media. They say about the film, they argue about the film, and most importantly, they love the film.

Hildur also does not stand aside and receives recognition – the Venice Festival, the Golden Globe, the British Academy.

And then the year 2020 comes, Oscar. And at this event, Joaquin Phoenix and Hildur Goodnadottir receive their first figurines.

Hildur and her first Oscar for the best soundtrack in the Joker movie

It all started six months before the start of filming. Hildur is one of the first to receive a film script. Todd Phillips made such a move so that the composer could catch that tonality and come with several blanks, but what was his surprise when Hildur came with a completely finished title theme of the film. After all, almost immediately after she received the script, she began to work on the soundtrack.

I started writing music immediately after reading the script. I played a little on cello – this is my main tool – and tried different tonality and sensations. I sat for several hours, and then … I began to play something else and came to the fact that then it became the main musical theme of the film. There was a very strong feeling. It was as if something came in its place, because it certainly reflected the feeling that arose after reading the script. It was like (shows a hold hold of breath). My breath caught my breath and I thought: “That’s it, here it is!". And I began to record – this is how the main musical theme was born, from this feeling. "That’s how he feels, this is the same"

Hildur Goodnadottir in the movie "Joker. Behind the scenes "

Hildur wrote music at the recording stage. I sent her the pages of the script, and she wrote the music before we started shooting, and what she did for the film so unique ..

Todd Phillips, film director

And this approach was damn in the process of creating some scenes already on the set of the film. For example, a joker dance in the toilet. Yes, many people know that it was Hoacin’s improvisation, but not everyone knows the details of this improvisation. Initially, in this scene, Arthur (the main character of the film) was to hide a gun, but already in the process of filming it became clear that the scene was not suitable for the hero. And Joaquin, along with Todd, thought about how to beat this scene. And then Phillips decides to turn on the composition of Hildur.

When we came to the set that day, Khoakin and I stood opposite each other and said: “Eh, this is not at all like Arthur. Why did Arthur need to hide his gun?»We really went through a million ways to do something else. About an hour passed and I say: “Hey, I have this musical work from Hildur Goodnadottir, our composer. She sent music throughout the time. I turned on the composition of Joaquin, and he just began to dance under it. In the toilet room there were only me and it alone, 250 people were waiting outside. Khoakin simply begins to perform this dance and we both look at each other and say: “Okay, this is a scene”.

Todd Phillips, film director

The same improvisational dance in the toilet

Work on the Joker was conducted simultaneously with Chernobyl. If the creation of the soundtrack of Chernobyl was extremely avant -garde, then in the joker the approach was more classic, but still experimental. So in the compositions of the film there was a large orchestra that was recorded in New York.

I received a lot of creative freedom from Todd, because he himself was rather brave in many decisions. And such freedom allowed me to "go crazy".

Hildur in an interview

Due to the fact that the work was present from the Joker to Chernobyl and vice versa, the creation process was extremely difficult. At least due to the structure of two works, tonality and worlds. As Hildur herself admitted, Joker is the most classical score that she wrote. And tried to preserve the traditional sound, as the film itself was. It was also a very important factor in avoiding the influence of past versions of Joker or their musical topics that followed them.

It was a more emotional and, above all, an amazing search for a character, the one with whom everyone in my generation grew up, but whose motives are unknown to anyone. And this version was a surprise to everyone.

Hildur about the Joker Todd Phillips

Joker’s bloody smile. The scene still makes his way to goosebumps. Everything is great in it: starting from Joakin’s work and setting, ending with a powerful composition Hildur

Summing up the intermediate result, we can say with confidence that these are two completely different projects. As an approach to the creation of a soundtrack, and in general, filling, but there is a common feature that can unite these projects from an artistic point of view- this is a disaster. In one case, this is the already occurred event (Chernobyl), in another it is the path to the disaster itself (Joker). Arthur at the end of the film transforms into Joker. This event is simultaneously liberating from the shackles and falling into the abyss. And this thin thread emphasizes the way Hildur coped with these works. After all, the next work, a completely different genre is not a movie, this is not a series, but a game. This work is a climatic war of the future. How it should sound? This series already had their own composers and their established soundtrack, which means the complete deconstruction of the past and the creation of something new.

4. Chief Musical Director EA

And here you need to make a slight digression. I understand perfectly that I already want to go to the soundtrack of the game and understand why such a long way has been made, but in this case, you can’t do without this point at all. After all, you think about why Hildur Goodnadoutir was generally in the Dice project. And the answer is simple – Steve Schnar. I can safely say that without him, this article would not be so complete. This person has introduced a lot of zero culture, and introduced a lot in EA.

Steve Schnar is the music director EA. It is he who in the company makes it possible to sound a particular game modern and/or in a new way.

In particular, Hildur tightly collaborated with Steve. Schnar asked the composer one thing – the soundtrack should be new, which was not yet in the series.

Steve Schnar, the head of the EA musical department, said that a sound accompaniment was needed, which has not yet been. The Dice team agreed with him. They really gave us freedom of choice, realizing that security in this case can turn into an lost opportunity, taking into account how strong the game itself will be.

Hildur, Xbox Wire

Details about his career and work in EA was told by Dmitry Burdukov on his channel. I extremely recommend watching a wonderful video about this person.

5. Battlefield 2042

And so we got to the main topic of this article – the game Battlefield 2042. The topic without a special analysis of past works and the franchise itself is not worth.

Battlefield has existed on the market for 20 years. This is a series of computer games in the genre of tactical-strategic shooter in the first person. Thanks to Wikipedia, for brevity, and now I will tell you more deployed, but the eyeliner will be a little from afar.

The series became extremely popular and beloved for many players at the expense of their multiplayer, where players compete with teams among themselves. This series has a lot of cult parts of the games – Bad Company 2, Battlefield 3, Battlefield 4, Battlefield 1 (This is not the first part of the game, the figure indicates the setting, namely the First World War).

Like any big franchise, there are ups and falls. There were games that few people will remember with a good word, or they will remember the scandals around a certain part and will not really talk about the game itself. But we are now interested in the other side of this franchise – music. Each part has its own topic of the soundtrack and the approach to it. Here are a few examples of the Battlefield’s cult title theme in the past parts: